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the scatter canon is thus carved in stone:
“Black Acid Co-op” is part of the tradition of transformative environmental artworks that fill or otherwise obliterate the spaces containing them. Among its points of origin are “Plein” (“Full Up”),” from 1960, in which the French artist Arman filled the Galerie Iris Clert in Paris with carefully sifted (nonorganic) trash; the eerie environments redolent of communal Moscow apartments with which the Russian artist Ilya Kabakov first made his name in the West in the 1980s; Jason Rhodes’s idiosyncratic massings of objects and material goods; and Gregor Schneider’s labyrinthine reconstruction of the interior of his parents’ home, near Cologne, Germany, inside the German Pavilion at the 2006 Venice Biennale.